University of Toronto symphony orchestra

UNIVERSITY OF TORONTO

FACULTY of MUSIC

2015-2016

season of events

University of Toronto Symphony Orchestra

Uri Mayer, conductor
Chad Heltzel, conductor
Danika Loren, soprano

Thursday, October 8, 2015
7:30 pm

MacMillan Theatre, 80 Queen’s Park

The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors

IH] Manulife Financial

| For your future-

mbna

ID

University of Toronto Smphony Orchestra

Uri Mayer, conductor
Chad Heltzel, conductor
Danika Loren, soprano

PROGRAM

Rosamunde: Overture, D. 644 (1823)
Overture
Andante
Allegro vivace

Chad Heltzel, conductor

The Schubert Birds (1990)

Four Lieder, Op. 27 (1894)

Ruhe, meine Seele (Rest my soul), Op.27, No.1
Cacilie, Op.27, No.2

Heimliche Aufforderung (Secret Invitation), Op.27, No.3
Morgen! (Tomorrow!), Op.27, No.4

Danika Loren, soprano

Intermission

Symphony No. 7, Op. 70 in D minor (1885)

Allegro maestoso
Poco adagio

Scherzo: Vivace — Poco meno mosso
Finale: Allegro

Franz Schubert

(1797-1828)

Michael Colgrass

(b. 1932)

Richard Strauss

(1864-1949)

Antonin Dvorak

(1841-1904)

Orchestra

Violin I

Alessia Disimino,
concertmaster
Kathy Chen
Aaron Cheung
Andrew Dicker
Gemma Donn
Joanna Gorska-
Kochanowicz
Dominic Greene
Matthew Mifflin
Julia Mirzoev
Emma Morrison
Katherine Peter
Jason Shiu
Calvin Wan
Saba Yousefi-Taemeh

Violin II

Adam Despinic, principal
Samuel Choi
Jamie Godber
Danielle Greene
Jessica Lee
Sun Ah Lee

Cassandra Leshchyshyn
Weiwei Li
Ryan Ng
Ryan Shen
Vilma Su
Georgia Vogeli
Charlotte Wong Labow
Jimmy Zhang

Viola

Megan Turner, principal
Kevin Michael Belvedere
Cole Canaday
Natalie Dyck
Carolyn Farnand
Emilie Gelinas-Noble
Nina Jeftic
Tony Ji

Samantha Sek
Clara Nguyen-Tran

Cello

Benjamin Louwersheimer,
principal
Alice Cho
Livia Coburn

Sally He

Amina Holloway
Alice Nahyun Kim
Michelle Liu
Sebastian Ostertag
Ivan Shiu

Double Bass

Megan Christina
Chandler, principal
Wesley Brenneis
Connor Crone
Matteo Ferrero-Wong
Vicente Garcia
Matthew Girolami
Peter Klaassen
Chantel Leung

Flute

Samantha Charron
Sophie Lanthier
Sarah Pollard
Sophia Wang

Piccolo

Samantha Charron
Sarah Pollard
Sophia Wang

Oboe

Jade Butlin-Woo
Kira Shiner
Paul Radelicki

English Horn

Jade Butlin-Woo

Clarinet

Dorian Leigh Baker
Marc James Blouin
Jolynn Platt
Celia Tang

Bass Clarinet

Marc James Blouin

Bassoon

Bianca Chambul
Eric Macarios

Contra Bassoon

Eric Macarios

Horn

Charlotte Alexander
Ariana Douglas
Daniel Ho
Emily Whittaker
Christine Grace van’t
Voort

Trumpet

Daniel Howells
Dylan Rook Maddix
Marcus Venables

Trombone

Jack Erdmann
Gregory Yasinsky

Bass Trombone

Collins Saunders

Tuba

Daniel Taylor

Timpani/Percussion

Derek Ou
Kevin Mulligan
Carol Wang

Harp

Myriam Blardone

Celeste

Shara Sun

MacMillan Theatre Staff

Ian Albright,

Technical Director
Les Stockley,

Technical Assistant
Bob Dunkin,

Production Assistant

Librarian, Performance
Collection

Karen Wiseman

Program Notes

Franz Schubert (1797-1828)

Rosamunde: Overture, D. 644 (1823)

Schubert began composing his incidental
music to the romantic drama Rosamunde,
Princess of Cypress on November 30, 1823
and finished on December 18, 1823, two days
before the premiere. Not much time was left
to rehearse either the music or the two ballets,
and no time at all to compose an overture. In
fact, Schubert never did compose an overture
to Rosamunde. Instead he used an overture
already composed for an earlier work.

It is said that Schubert’s music was from
an overture to an earlier “magic play’’
(Zauberstuck) called The Magic Harp (Die
Zauberharfe).

The drama, Rosamunde, Princess of Cypress,
survived for exactly two performances. Even
though Schubert’s music had been singled
out by the Viennese press for high praise, it
fell into obscurity along with the play and was
not brought to light again in its entirety until
1867, when Sir George Grove of dictionary
fame and his friend Arthur Sullivan made a
joint expedition to Vienna for the purpose
of unearthing Schubert’s still-neglected
manuscripts. The two men were successful
beyond their wildest dreams: in the booty
they brought back to London were parts of
Schubert’s Rosamunde music, performed in
London for the first time since the Viennese
production of the drama.

(Notes from Edward Downes’ The New York
Philharmonic Guide to the Symphony)

Michael Colgrass (b. 1932)

The Schubert Birds (1990)

The Schubert Birds is a concerto for orchestra
based on Franz Schubert’s Kupeiwieser
Waltz, a little known piano piece that Schubert
wrote as a wedding gift for his friend Leopold
Kupeiwieser. Kupeiwieser was a painter and
a member of a special in-group of Viennese
admirers who would gather privately to hear
Schubert’s music. Listeners will recall the
term ‘Schubertiad,’ coined to define these
gatherings. "I call the work The Schubert Birds

because I often think of Schubert as a kind of
bird who spent his life singing, and who was
surrounded by others who were attracted by
his lyricism and sang with him,” says Colgrass.
“(Musicologist Maynard Solomon pointed
out in a recent paper that letters exchanged
between Schubert and his friends referred to
‘peacocks,’ ‘pheasants' and ‘nightingales,’
etc., terms that he postulates were intended
as a code to mask their homosexual activities.
Hence, by chance, my title may have
connotations that I had never intended!)”

Schubert has a kindred spirit in jazz
saxophonist Charlie Parker. Parker, too, sang
with the natural ease of a bird and was even
nicknamed Bird. They both lived fast and died
tragically young (Parker at 34, Schubert at 31).
So, it seemed quite natural that the middle
section of this work be in the recitative blues
style of Charlie Parker, to show their affinity.

In musical form, The Schubert Birds is a
tapestry of several dozen variations on the
Kupelweiser Waltz heard two or three at a
time in almost perpetual counterpoint. For
example, the above-mentioned section is a
bluesy duet for oboe and contrabassoon (in
C major) alternating with a fast-tempo muted
trumpet (in F major). These two variations
are interrupted intermittingly by a dream-like
waltz in violins playing harmonics (in D minor)
and the violas playing a chorale (in G minor).
And this whole section is framed by a forcible
declamatory statement in low strings and
horns (in C# minor). So, five different variations
are woven together here to make this one
section. A straight-forward lyric version of
Schubert’s theme appears in the cellos and
violas early in the work, and Schubert’s
original theme is heard in orchestrated form
close to the end. Some listeners might enjoy
piecing together this crazy quilt of theme and
variations, while others might prefer to simply
stroll freely through my own fanciful concept of
Schubert’s subconscious world.

(Notes by Michael Colgrass)

Richard Strauss (1864-1949)

Four Lieder, Op. 27 (1894)

Four Lieder, Op. 27 was a wedding present
from Richard Strauss to his wife, a famously
tempestuous soprano, Pauline de Ahna. They
met in 1887 and married on September 10,

1894. The four songs are his final completed
works. Though they were written in 1894 for
voice and piano, they weren’t orchestrated
until 1948, after he had completed his Four
Last Songs. Strauss died in 1949.

Strauss was heavily influenced by poetry
for the Four Lieder. In Ruhe, meine Seelei,
the first song composed in 1894, the words
are from a poem of the same name (which
translates to Rest, my soul) by the poet Karl
Henckell. Cacilie (Cecille ), the second song,
also written in 1894, takes its words from a
love poem written by FHeinrich Hart. Fleimliche
Aufforderung (The Secret Invitation), the third,
and Morgen! [Tomorrow!), the fourth, are from
poems by John Henry Mackay.

Antonin Dvorak (1841-1904)

Symphony No. 7, Op. 70 in D minor (1885)

Although Dvorak’s “New World” Symphony
is his most famous symphonic score, many
musicians, including his principal Czech
biographer, Otakar Sourek, consider the D
minor Symphony, Opus 17 to be his greatest.

In his Symphony No. 7, it was Dvorak’s
ambition to surpass everything he had hithero
achieved in the symphonic field. There were
several reasons for this. One was that the
London Philharmonic Society had nominated
him an honourary member in June 1884, and
invited him to compose a new symphony for
the Society. The request emphasized his newly
won international standing, and he wished to
increase it with his new score.

Another factor which had fired Dvorak’s
ambition was the overwhelming impression
which Brahms’ Third Symphony made upon
him at the premiere in December 1883.

Dvorak believed Brahms’ new score to be the
greatest of all modern symphonies, and he
was filled with the desire to produce a work of
similar structure.

Finally, as a Czech composer deeply involved
in the revival of Czech culture and its
future growth, Dvorak wished to enrich the
Czech symphonic repertory with a work of
international as well as national appeal.

The composition sketch and the orchestration
of the score were completed in Prague
between January 13 and March 17, 1885.

The first performance took place in London on
April 22, 1885, with the composer conducting
the London Philharmonic Society. Two years
later, the Symphony had its first hearing on the
continent when Hans Richter conducted the
Vienna Philharmonic. Not until October 27 and
28, 1889, however, did the Symphony enjoy
a real triumph. These latter performances
in Berlin under Hans von Bulow were so
important to Dvorak that he pasted a picture
of Bulow on the title page on the manuscript
of his Symphony and wrote underneath:

“Glory be to you! You brought this work to life!”

(Notes from Edward Downes’ The New York
Philharmonic Guide to the Symphony)

Biographies

URI MAYER

Uri Mayer, Director of Orchestral Studies,
has taught on the faculties of the University
of Michigan in Ann Arbor, Rice University
Shepherd School of Music in Houston, McGill
University in Montreal and at the Glenn Gould
School of the Royal Conservatory of Music
(GGS).

Renowned for his strong command of broad
symphonic, operatic, and ballet repertoire,
Mayer has guest conducted many of
the leading orchestras around the world
including the Montreal, Toronto, Winnipeg
and Vancouver symphonies in Canada, the
Houston and Utah symphonies in the U.S.,
London Mozart Players and the English
Symphony Orchestra, NDR Philharmonie in
Hannover, Slovak Philharmonic, Budapest,
Belgrade and Sophia Philharmonics, Israel
Philharmonic, NHK Orchestra and Osaka
Symphony in Japan and National Symphony
of Taiwan. He served as Principal Conductor
of the Kansai Philharmonic Orchestra in
Osaka, Japan and Artistic Director of the Israel
Sinfonietta. In Canada, Mayer was Music
Director of the Edmonton Symphony and
Orchestra London where he now serves as
Artistic Advisor.

Mayer has led numerous opera productions in
Canada, the U.S, the Netherlands, Hungary,
and Israel including The Barber of Seville, CosI
fan tutte, Don Giovanni, The Flying Dutchman,
Salome and The Cunning Little Vixen.

Some of the distinguished soloists who

have collaborated with him include Ely
Ameling, Kathleen Battle, Maureen Forrester,
Frederica von Stade, Itzhak Perlman,

Pinchas Zukerman, Peter Oundjian, Mstislav
Rostropovich, Yo-Yo Ma, Claudio Arrau,
Emanuel Ax and Andras Schiff.

Mayer has recorded for the Arabesque, CBC,
Denon Japan, Hungaroton and Koch labels.
Under his direction the Edmonton Symphony
became one of Canada’s most frequently
played orchestras on radio. They were
awarded the Grand Prix du Disque-Canada for
the recording of Orchestral Suites of the British
Isles and nominated for a Juno Award for their
Great Verdi Arias with Louis Cuilico.

In 2009, the University of Western Ontario
conferred on Mayer a Doctor of Music Honoris
causa in recognition of his contribution to the
musical life in Canada.

CHAD HELTZEL

Conductor and pianist Chad Heltzel continues
to enthrall audiences with the intensity and
passion of his artistry. A versatile musician,
Heltzel has led a number of choral, operatic
and instrumental ensembles throughout
Canada and abroad. He recently co-founded
the Ariadne Ensemble, a professional chamber
orchestra in residence at St. Matthias’ Church
in Montreal, QC. He has served as assistant
conductor at the Syracuse Opera and the
Opera Nuova Summer Festival in Edmonton,
AB. Currently a DMA candidate in orchestral
conducting at the University of Toronto, Heltzel
is under the mentorship of Maestro Mayer.

While pursuing his doctorate in piano
performance at I’Universite de Montreal,

Heltzel made his conducting debut with J.

S. Bach’s Keyboard Concerto No. 1 in D
minor and Mozart’s Piano Concerto No.

27. Following his piano studies, Heltzel
branched out into opera conducing and
coaching. He has musically directed several
operettas, including Johann Strauss Jr.’s
Die Fledermaus and Gilbert and Sullivan’s
Patience and The Yeomen of the Guard. He
has conducted such orchestras as the Berlin
Sinfonietta, I’Ochestre Symphonique de Levis,
I’Orchestre Philharmonique de Musiciens de
Montreal, members of the Portland Symphony
Orchestra, and the Ithaca College Sinfonietta
to name a few. Heltzel is a graduate of the
Pierre Monteux School for conductors,
the Orpheus Academy in Vienna, and has
attended master-classes throughout North
America and Europe with some of the world’s
foremost conducting pedagogues.

An American native, Heltzel went to high
school at the Interlochen Arts Academy
before attending Rice University as a piano
major. He has appeared as soloist with the
Oregon Symphony, the Portland Chamber
Orchestra, the Glenn Gould School Orchestra,
and I’Orchestre de I’Universite de Montreal.

His teachers have included John Perry, Marc
Durand, and Carl Schachter.

Lady (Die Zauberflote), Susanna (Le Nozze
di Figaro) and Rosina (II Barbiere di Siviglia).
This season, Danika will perform the roles of
Monica (The Medium ) and Tiny ( Paul Bunyan)
with University of Toronto Opera, and reprise
the role of Rosina (II Barbiere di Siviglia) with
the Saskatoon Opera Company in 2016.
Loren's finesse with song repertoire has
afforded her opportunities to share the stage
in recital with internationally recognised
singers such as Stephanie Blythe, Adrianne
Pieczonka and Catherine Wyn-Rogers, and,
in 2010, Loren was named Vocal Champion
at the FCMF National Music Festival. She is
also a founding member of Collectif, an artist
collective dedicated to exploring art song
as theatre. Loren’s orchestral appearances
include Faure's Requiem with baritone
Nathan Berg, conductor Eric Paektau and the
Saskatoon Symphony Orchestra (2015), and
Mozart’s Coronation Mass with conductor
David Holler and the London Fanshawe
Chorus (2013).

Hailing from Saskatoon, Loren pursued a BFA
in acting at the University of Saskatchewan
while studying voice with Marilyn Whitehead.
She has since completed her bachelor’s
degree in vocal performance at the University
of Toronto under the instruction of J. Patrick
Raftery, and is currently in the final year of a
master’s degree in opera with Wendy Nielsen.

DANIKA LOREN

Danika Loren is known for her dramatic
sensitivity and instinctive musicality. Ever
versatile, Loren’s past operatic roles include:
Lady with a Hand Mirror (Postcard from
Morocco), Mimi (La Boheme), Lauretta ( Gianni
Schicchi), Frasquita (Carmen), Pamina/Second

Translations

Ruhe, meine Seele (Rest my soul), Op

Nicht ein Luftchen regt sich leise,

Sanft entschlummert ruht der Hain;
Durch der Blatter dunkle Hulle
Stiehlt sich lichter sonnenschein.

Ruhe, ruhe, meine Seele,

Deine Sturme gingen wild,

Hast getobt und hast gezittert,

Wie die Brandung, wenn sie schwillt.
Diese Zeiten sind gewaltig,

Bringen Herz und Hirn in Not —

Ruhe, ruhe, meine Seele,

Und vergiB, was dich bedroht!

Cacilie (Cecille), Op.27, No.2

Wenn du es wuBtest,

Was traumen heiBt
von brennenden Kussen,

Von Wandern und Ruhen
mit der Geliebten,

Aug in Auge,

Und kosend und plaudernd,

Wenn du es wuBtest,

Du neigtest dein Herz!

Wenn du es wuBtest,

Was bangen heiBt
in einsamen Nachten,

Umschauert vom Sturm,
da niemand trostet milden Mundes
die kampfmOde Seele,

Wenn du es wuBtest,

Du kamest zu mir.

Wenn du es wuBtest,

Was leben heiBt,
umhaucht von der Gottheit
Weltschaffendem Atem,

Zu schweben empor, lichtgetragen,

Zu seligen Hohn,

Wenn du es wuBtest,

Du lebtest mit mir!

No.1

Not even a breeze stirs lightly,
the wood lies slumbering peacefully;
through the dark cover of leaves
steals the bright sunshine.

Rest, rest, my soul,
your storms have been wild,
they have raged and trembled
like the surf when it breaks.

These times are immense,

bringing heart and mind into torment —

rest, rest, my soul,

and forget what threatens you!

If you only knew
what dreaming is
of burning kisses,
of wandering and resting
with one’s beloved,
eye to eye,

and cuddling and chatting —
if you only knew,

you would give your heart to me!

If you only knew

what torment is

on lonely nights,

surrounded by a raging storm,

with no one to comfort in a mild voice

your struggle-weary soul —

if you only knew,

you would come to me.

If you only knew

what living is

surrounded by God’s

world-creating breath,

to float up, carried by the light,

to blessed heights —

if you only knew,

then you would live with me!

.27,

Heimliche Aufforderung (Secret Invitation), Op.27, No.3

Auf, hebe die funkelnde Up, raise the sparkling

Schale emporzum Mund,

Und trinke beim Freudenmahle
dein Herz gesund.

Und wenn du sie hebst,
so winke mir heimlich zu,

Dann lachle ich und dann
trinke ich still wie du...

chalice to your lips,

And drink at the joyous feast
to your heart’s content.

And when you raise it,
so wink secretly at me,

Then I’ll smile and drink quietly, as you...

Und still gleich mir betrachte um uns
das Heer der trunknen Schwatzer —
verachte sie nicht zu sehr.

Nein, hebe die blinkende Schale,
gefullt mit Wein,

Und laB beim larmenden Mahle
sie glucklich sein.

And quietly, like 1 do, look around at
the crowd of drunken revelers —
don't think too ill of them.

No, lift the twinkling cup,
full with wine,

And let the noisy feast
be a joyous occasion.

Doch hast du das Mahl genossen,
den Durst gestillt,

Dann verlasse der lauten Genossen
festfreudiges Bild,

Und wandle hinaus in den Garten
zum Rosenstrauch,

Dort will ich dich dann erwarten
nach altem Brauch,

But when you’ve savored the meal,
your thirst quenched,

Then leave the loud gathering’s
joyful festivity,

And wander out into the garden,
to the rosebush,

There 1 will be waiting for you
according to ancient custom,

Und will an die Brust dir sinken,
eh du’s gehofft,

Und deine Kusse trinken,
wie ehmals oft,

Und flechten in deine Haare
der Rose Pracht.

0 komm, du wunderbare, ersehnte Nacht!

And 1 will sink into your breast,
as you have hoped for

And drink your kisses,
as so often before,

And 1 will weave into your hair
the rose’s splendour.

Oh, come, you wondrous, longed-for night!

Morgen! (Tomorrow!), Op.27, No.4

Und morgen wird die Sonne wieder
scheinen,

und auf dem Wege, den ich gehen werde,
wird uns, die Glucklichen, sie wieder einen
inmitten diesersonnenatmenden Erde...

And tomorrow the sun will shine again,
and the path 1 take,
will unite us again, we happy ones,
upon this sun-breathing earth...

Und zu dem Strand, dem weiten, wogen-
blauen,

werden wir still und langsam niedersteigen,
stumm werden wir uns in die Augen
schauen,

und auf uns sinkt des Gluckes, stummes
Schweigen...

And to the shore, vast with blue-waved,
we will quietly and slowly descend,
we will look into each other’s eyes
and into us will sink the muted silence of
true bliss...

Up next

UTCO

Conducted by Paul Widner

MON NOV 23, 2015 - 7:30 PM
WALTER HALL

80 QUEEN’S PARK, TORONTO, ON
Free

UTSO

Conducted by Chad Heltzel, Francois Koh and Samuel Tam

Beethoven: Symphony No. 8, Op. 93 in F Major

Strauss: Blue Danube Waltz

Ravel: La valse

Gershwin: American in Paris

SAT NOV 21,2015 - 7:30 PM

MACMILLAN THEATRE
80 QUEEN’S PARK, TORONTO, ON

$20 regular, $10 student

Thank you for your support!

The Faculty of Music gratefully acknowledges the generosity of the individuals, foundations, associations and corporations who
gave annual gifts of $1,000 or more between May 1,2014 and September 1,2015, in support of our students and programs.
Thank you for the part you are playing in advancing the cause of music education in Canada.

Mark Abbott
Raymond C. K. Ang
Hilary J. Apfelstadt*#

Ann H. Atkinson
Neville H. Austin*

Gregory James Aziz
John and Claudine Bailey
Lee Bartel# and Linda
Cameron
Florence Barwell
David Beach
John Beckwith* and
Kathleen MoMorrow
Christie Bentham
Tamara Bernstein
Bruce Blandford# and
Ron Atkinson
Jean Bohne

Walter M. Bowen and Lisa
Balfour Bowen
David G. Broadhurst
Melissa Campbell
Frederick H. K. Chapman*
Caryl Clark#

Coach Foundation
COC Oakville Guild
Earlaine Collins
Marilyn E. Cook
Ninalee Craig
Denny Creighton and Kris
Vikmanis

The estate of Ian R.

Dalton

Joseph Mychael Danna*
Susan Dobbs
Vreni and Marc
Ducommun
Gerard Dunnhaupt
M. Jean Edwards
Robin Elliott*#

Brigid Elson
Robert A. Falck
Gladys and Lloyd Fogler
Gordon Foote#

William F. Francis

Mary Craig Gardner
Paul W. Gooch and
Pauline Thompson
Al and Malka Green
Morton Greenberg
Nancy E. Hardy*

Ethel Harris
The William and Nona
Heaslip Foundation
Jerry Heffernan
Hellenic Heritage
Foundation
Paul T. Hellyer
Dianne W. Henderson
Harous C. Hennigar*#
Beau Gordon Hobbs
Richard and Donna
Holbrook
Alan Horne
Jo-Anne Hunt
Michael and Linda
Hutcheon

Jackman Foundation
JAZZ.FM91
The Norman and
Margaret Jewison
Charitable Foundation
Beverley J Johnston*#
Marcia and Paul
Kavanagh

William and Hiroko Keith
Arthur Kennedy
Elizabeth Kilbourn-Mackie
Hans Kluge
Ingeborg Koch
Murray and Marvelle
Koffler

Midori Koga#

Kevin Komisaruk# and
Jeffrey Steele
Patricia Kraemer
Victor Kurdyak
Daniel Kushner
Carolyn Lake
Leslie and Jo Lander

Sheila Larmer
John B. Lawson
Jim Lewis#

Patrick Li*

V. Lobodowsky
Grace Locilento
Che Anne Loewen
Long & McQuade Musical
Instruments
Joseph N Macerollo*#
Gillian MacKay#

Bobby and Gordon
MacNeill

Donald R. McLean*# and
Diane M. Martello
Esther and John McNeil
Miller Khoshkish
Foundation
Delia M Moog
Roger D. Moore
Ruth Morawetz
Eris C. Mork
Mary Morrison#

Sue Mortimer
Mike Murley#

Paul and Nancy Nickle
Phillip Nimmons#

James Norcop
Cristina Oke

Ken Page Memorial Trust
James E. K. Parker#
Annalee Patipatanakoon#
Steven Philoox#

Brett A. Polegato*

Terry Promane#

Paul E. Read*

Jeffrey Reynolds#

Robert Rienzo
Shauna Rolston# and
Andrew Shaw
The Ryckman Trust
Chase Sanborn#

Longinia Sauro
Ezra and Ann Sohabas
June Shaw

Stephen and Jane Smith
David Smukler
Harley Smyth and Carolyn
Mclntire Smyth
The Sound Post
John C. and Ellen Spears
John D. Stanley and
Helmut Reichenbacher
Darrell Steele*

Patricia E. Stone
The Stratton Trust
Janet Stubbs*

Barbara and John
Sutherland
Ann D. Sutton
Frangoise Sutton
Almos Tassonyi and
Maureen Simpson
Ian and Kath Taylor
Travelers Canada
Riki Turofsky* and Charles
Petersen
Catherine Ukas
Sandra K. Upjohn
Ruth Watts-Gransden
Mary-Margaret Webb
Foundation
Daniel G. Weinzweig
Women’s Art Association
of Canada

Women’s Musical Club of
Toronto Foundation
Lydia Wong*#

Marina Yoshida
4 friends of the Faculty of
Music

'Faculty of Music alumnus
#Faculty of Music faculty
or staff member

For information on giving opportunities at the Faculty of Music please contact Bruce Blandford
at 416-946-3145 or make a gift online at https://donate.utoronto.ca/music

For tickets, visit
music.utoronto.ca
or call 416-408-0208

@UofTMusic

The Faculty of Music is a member of Bloor St. Culture Corridor

bloorstculturecorridor.com

BLOOR ST.
CULTURE
CORRIDOR